What is the spiritual significance of China's ancient landscape paintings?

At the beginning of Sui and Tang Dynasties, China's landscape painting had an independent branch. Since then, landscape figures, flowers and birds have become.

Three artistic themes of shining Chinese painting. Landscape painting is not only a unique landscape in the art jungle of the world, but also bears the deepest sustenance in China's humanities field. Together with China's art, it has gone through the most glorious historical period. It should be said that the great development of China's landscape painting has a great relationship with "Jin people discover nature outward and feel inward (Zong Baihua)". The literati finally found the unique context of Daobai, and when describing the natural landscape with pen and ink, they poured out their infinite love and elegant charm.

Guo, a great painter in the Northern Song Dynasty, likened the landscape to "the spring mountain is as light as a smile, the summer mountain is as green as a drop, the autumn mountain is as bright as makeup, and the winter mountain is as bleak as sleep", which is simply Xin Qiji's "I thought the green mountain was more charming, but I expected it to be like this". Looking around nature, artists personify mountains and lakes, and artistic life is thus integrated with mountains and rivers.

Ma Yuan, a painter in the Southern Song Dynasty, has a painting "Sailing on the Lu 'an", which has a profound artistic conception and is very interesting. In the distance of painting, with minimalist brushstrokes, a few distant mountains are lightly dyed to outline the scenery of the plain. There is a lonely boat and some reeds nearby, and the waterfront is just around the corner. A white man curled up on the boat, staring at half the scenery in the distance. There are only two paragraphs in the whole painting, and there is not much pen and ink in the whole painting, leaving a lot of blanks, giving people infinite reverie and broad hope, and setting off the author's resentment of committing himself to a corner of the south of the Yangtze River and his deep nostalgia for his distant hometown.

Ma Yuan, who was called "Ma Jiao" by later painters, was good at seeing the big from the small. He did not use the panoramic composition of the conventional painting method, but adopted a subjective truncation method, omitting all elements unrelated to the theme. What a wise choice! This superb cutting technique refines and creates nature. Everything is to promote the theme, and everything makes the theme a foil. The artistic conception jumps between the ruler and the frame, the interest is revealed outside the stippling, and the poetic meaning is ingeniously poured.